STUDENT PORTFOLIO

Student Portfolio 

ZUMBA® COMBO 

QUALIFICATION 

STUDENT 

PORTFOLIO 

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© Copyright 2014 EMDP 

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Introduction 

• Welcome 

• Qualification Overview 

• Assessment Overview 

• Quality Assurance 

• Programme Stages 

• Online Learning 

• Time Requirements 

• Contact Details 

• Health & Safety 

• Portfolio Information 

• Candidate Record of Achievement – to be completed by student and trainer 

• Learning Outcomes & Assessment Criteria 

Course Delivery Modules 

Module 1: 

Module 2: 

Module 3: 

Module 4: 

Module 5: 

Module 6: 

Module 7: 

Module 8: 

Material 

Planning 

Music & Rhythm 

Teaching Methods 

Alternatives 

Warm-up & Cool-down 

Evaluation 

Legalities 

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Introduction 

Welcome 

We would like to welcome you to the Zumba Combo Qualification. 

In doing so we would like to congratulate you on taking the steps required to enhance your 

skills and knowledge as a professional instructor in the dance and fitness industry. The Exercise, 

Movement and Dance Partnership (EMDP) hope that you enjoy your course experience and assure 

you that many years of history and passion have gone into creating an informative, dynamic, 

inspirational programme. 

This portfolio has been prepared to support you through the course and contains documents and 

information that will be integral to your learning experience. You will find within this introductory 

section, guidance on what to expect from the different elements of your course elements and some 

valuable information to help you prepare for your assessments. 

NB: The following information is correct at the time of going to print. However the programme is 

subject to regular review and amendments made from time to time. 

Qualification Overview 

This course has been specifically designed to provide comprehensive training for those who want to 

achieve a nationally recognised, accredited Level 2 qualification; the Certificate in Teaching Exercise, 

Movement and Dance, specializing in Zumba. Upon successful completion of all units, the student is 

also awarded the Level 2 Certificate in Fitness Instructing (Exercise to Music). 

Enhancing your status as a fully qualified Zumba instructor, this certification allows you to teach 

Zumba in a wide range of professional settings (gyms, public venues, community halls, dance 

studios, school halls... the list goes on!). As an Dance Fitness professional, you can offer classes 

throughout the dance fitness sector, offering an alternative to gym and studio based exercise. 

Once qualified, a holder of the Level 2 Certificate in Teaching Exercise, Movement and Dance 

(Zumba) will be equipped with the knowledge, skills and understanding to plan and deliver a safe 

and effective Zumba classes to participants of a range of ability and fitness levels. 

Assessment Overview 

Assessment will take place throughout the course and will cover theoretical knowledge and 

practical teaching. Assessment will largely take the form of worksheets; teaching observation and 

written examinations. 

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Quality Assurance 

Each course will be subject to a process of internal and external quality assurance. 

Programme Stages 

The course is broken down into two parts – online study and practical course delivery. Practical 

sessions will involve taking the theory learnt and putting it into practice. Students will be given 

the opportunity to practice teaching during the practical elements of the course. Students will be 

encouraged to support this with additional practice in their own time. 

Online Learning 

During online learning you will obtain the underpinning knowledge, relevant to teaching group 

exercise, through the completion of four units, via an e-learning portal. As a guideline the online 

learning element will take approximately 98 hours to complete. Each unit will be individually 

assessed, via two multiple choice examinations and two written worksheets. 

• Anatomy and Physiology for Exercise and Health – approximately 41 learning hours 

• Principles of Exercise, Fitness and Health – approximately 28 learning hours 

• Health, Safety and Welfare in a Fitness Environment – approximately 16 learning hours 

• Know How to Support Clients Who Take Part in Physical Activity – approximately 13 learning hours 

During the practical section of the course you will have the opportunity to speak with your trainers 

in a face-to-face environment and review your online learning. This will also identify to your trainers 

any key focus areas you require assistance with before completing your assessed worksheets and 

sitting your theory exams. 

Time requirements 

Whilst the time spent on course is fixed, the time required to complete work away from the 

course will vary from candidate to candidate based upon factors such as previous knowledge and 

experience, time since last involved in learning etc. 

EMD Academy Contact Details: 

Tel: 01403 266000 

Email: training@emdp.org 

Website: www.emdacademy.org 

Lifetime Contact Details: 

Tel: 0870 120 1207 

Email: info@lifetimetraining.co.uk 

Website: http://www.lifetimetraining.co.uk/ 

CYQ Contact Details 

Central YMCA Qualifications, 112 Great Russell Street, London, WO1B 3NQ 

Tel: 020 7343 1600 

Email: info@cyq.org 

Website: www.cyq.org.uk 

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Health & Safety 

The EMDP has a Health and Safety Policy Statement a copy of which can be downloaded from the 

student area of the EMD Academy website. 

The EMDP Code of Ethics also contains a safety section which contains guidelines that teachers 

should understand and comply with. 

If you have any questions in relation to your own or another students Health and Safety during 

your training please bring this to the attention of your relevant course trainer or if necessary the 

EMD Academy. 

Portfolio Information 

This Portfolio contains all the worksheets and study notes for your training course. These 

worksheets form part of your on-going assessment on the course. You will be required to complete 

these worksheets in your own time and submit them to your trainer for assessment before the end 

of your course. 

All of the student resources are available on-line and you can download the electronic files through 

the student area of the Academy website – log in details will be sent to you at enrollment. 

Your trainer will mark worksheets and respond with written feedback as relevant. 

Candidate Record of Achievement 

It is very important that you manage your own work and find time to complete the work outside of 

the course contact days. The Candidate Record of Achievement acts as your assessment log and is 

a tool to help you manage your own work and keep track of your worksheets. You are also required 

to sign the authenticity statement at the bottom of this Candidate Record of Achievement. Against 

each worksheet/assignment name you will need to write date submission. If you need to resubmit 

the worksheet/assignment for any reason please record each resubmission date on this document. 

Upon successful completion of each worksheet, as confirmed by the relevant trainer, you will also 

need to record the sign off date. 

Candidate Record of Achievement: 

To be completed by Student and Trainer Assessor. To be submitted by Trainer Assessor to EMDP 

following sign off of all achievements. 

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Worksheet/ 

Assignment Name 

Student to 

complete by 

Name 

of 

Trainer 

Submission 

Dates 

Online First Second 

On Course 

E-Learning & MCQ 

Examination: Anatomy 

& Physiology 

E-Learning & MCQ 

Examination: Principles of 

Exercise Fitness & Health 

Worksheet: Health Safety 

& Welfare in a Fitness 

Environment 

Worksheet: Know How to 

Support your Clients who take 

part in Exercise & Physical 

Activity 

EMD 

CYQ Instructing 

CYQ Planning 

EMD Risk Assessment 

Checklists x 2 

PARQ 

Session Plan x 1 

Practical Summative 

Assessment – checklist 

and evaluation 

Practical Summative Assessment 

MCQ Exam 

Date 

MCQ Exam 

Date 

Summative 

Assessment 

Date 

Pass 

Refer 

Date 

Signed off 

by Trainer 

Authenticity Statement: I confirm that the information within this pack is entirely my own work. 

I understand that the work must be completed within the given time frames. 

Name Print: ________________Signed: 

______________________Date: ____________ (Student) 

Trainer Assessor comments, date and signature: 

Comments: 

Name Print: ________________Signed: ______________________Date: ____________ (Assessor) 

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Independent Assessor comments, date and signature (if relevant): 

Internal Quality Assurer comments, date and signature (if relevant): 

Learning Outcomes and Assessment Criteria: 

The following information relates to the 2 qualifications included in this course delivery 

programme. All taught sessions and tasks are included in this courses to ensure learners are 

provided with relevant information for both qualifications and required assessments. 

Plan and prepare exercise, movement and dance sessions to music 

The learner will: 

1. Understand how to collect and record information about participants 

• Explain why it is important to collect accurate and up-to-date information about participants 

• Identify what information needs to be collected about participants 

• Describe different methods to collect participant information (questionnaire; 

interview; observation) 

• Describe how to determine which methods of collecting information are appropriate according to 

the situation 

• Explain the principles of screening participants prior to exercise to music to include the use of the 

physical activity readiness questionnaire (PARQ) 

• Explain the process of informed consent 

• Describe different formats for recording information about participants 

• Outline legal and organisational requirements for data protection and confidentiality 

2. Be able to collect and record information about participants 

• Establish a rapport with participants 

• Collect information about participants using appropriate methods 

• Record the information in a way that will help to analyse it 

• Maintain participant confidentiality in line with good practice procedures 

3. Understand how to analyse information about participants 

• Give examples of how participant information could affect the planning of an exercise movement 

and dance session 

• Describe the factors, based on client screening, which affect safe exercise participation 

• Explain when it may be necessary to refer participants to another professional and describe the 

procedure that should be followed 

• Identify the reasons for temporary deferral of exercise 

4. Be able to analyse information about participants 

• Analyse the information collected and identify any implications for planned sessions 

• Identify any barriers to participation and encourage participants to find a solution 

• Identify any participants who need referral to another professional 

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5. Understand how to plan and prepare an exercise, movement and dance session to music 

• Explain the importance of careful and thorough planning and preparation before physical activity 

• Explain how to design an exercise, movement and dance session according to accepted good practice 

• Explain how to apply the principles of exercise, movement and dance to session design 

• Describe how to plan exercise, movement and dance to music to meet the needs of clients with 

different objectives 

• Explain how to decide on the order of exercises and activities in the session 

• Identify a range of equipment used in exercise, movement and dance to music, and its uses 

• Explain how to select and prepare the resources and facilities needed 

• Explain why alternatives are needed 

• Describe how to provide alternatives 

• Describe how to plan group exercise, movement and dance to music using circuit formats 

6. Be able to plan and prepare an exercise, movement and dance session 

• Identify objectives that are appropriate to: 

• the likely needs and potential of the participants 

• accepted good practice in the industry 

• own level of competence 

• Plan safe and effective group exercise to music to achieve planned objectives for the session 

• Select exercises that will help clients to develop: 

• cardiovascular fitness 

• muscular fitness 

• flexibility 

• motor skills 

• Select a range of exercises that are safe and appropriate for participants and include 

possible alternatives 

• Identify the safe and effective technique for a range of exercises/movements 

• Identify the resources needed, making best use of the facilities in which participants will exercise 

• Plan realistic timings, intensities and original choreography for sessions 

• Record plans in a format that will help you to implement the session 

7. Understand how to use music to enhance group exercise 

• Describe how to select speed and type of music as appropriate to the participants and phase of 

the class 

• Describe the legal requirements covering the use of music 

• Describe the principles involved in developing choreography for a group exercise session 

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Deliver and review exercise, movement and dance to music sessions 

The learner will: 

1. Understand how to prepare participants for an exercise, movement and dance session 

• Explain why the instructor should meet participants punctually 

• Outline how to make participants feel at ease 

• Identify the information about participants that needs to be collected immediately prior to the session 

• Explain why there may be necessary changes to the session 

• Explain why any necessary changes need to be recorded 

2. Be able to prepare participants for an exercise, movement and dance session 

• Meet participants punctually and make them feel welcome and at ease in the exercise environment 

• Outline the planned exercises and movements to participants, including physical and technical demands 

• Check participants’ level of experience, ability and physical/medical condition 

• Confirm or revise plans as appropriate and record any necessary changes to the planned session 

• Explain the purpose and value of the session, including warm-up and cool-down 

• Explain the health, safety and emergency procedures to participants 

3. Understand how to teach and adapt an exercise, movement and dance session 

• Explain how to balance activity with discussion within a session 

• Describe different teaching styles appropriate to different participants 

• Describe how to develop participant co-ordination by building exercises/movements up gradually, 

to include: 

• layering techniques 

• holding patterns 

• Describe effective methods of combining movements 

• Describe the principles of group behaviour management during exercise to music sessions 

• Explain how to warm up participants safely and effectively prior to exercise 

• Explain how to correct participants’ technique 

• Identify the safe and effective alignment for a range of exercise, movement and dance 

movements to develop: 

• cardiovascular fitness 

• muscular fitness 

• motor skills 

• Explain how and why to adapt exercises/movements to ensure appropriate progression and regression 

4. Be able to teach and adapt an exercise, movement and dance session 

• Obtain and prepare resources needed for the planned exercises 

• Provide safe and appropriate equipment sufficient for the participants 

• Prepare self to instruct the session 

• Organise sufficient space for safe exercise performance 

• Ensure there is an effective balance of activity and discussion within the session 

• Use teaching styles and communication that are appropriate to participants and accepted 

good practice 

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• Use warm up activities that are safe and effective for the participants and appropriate to 

the session 

• Give instructions, explanations and demonstrations that are technically correct with safe and 

effective alignment of exercise/movement positions 

• Use volume, pitch and voice projection relative to the music, with or without a microphone 

• Provide cueing to enable participants to work to the structure and phrase of the music 

• Vary the pace and speed of exercise/movements to ensure safety and effectiveness 

• Ensure participants exercise safely 

• Keep to the planned timings for the session 

• Adopt appropriate positions to observe participants and respond to their needs 

• Check that participants can perform the exercises/movements as instructed 

• Use appropriate methods to correct and reinforce technique, including 

• changing teaching positions 

• asking questions 

• verbal and visual communication 

• mirroring 

• Provide feedback and instructing points which are timely, clear and motivational 

• Adapt exercises/movements with suitable progressions and regressions according to 

participants’ needs 

5. Understand how to bring an exercise, movement and dance session to an end 

• Explain how to cool down participants safely and effectively 

• Explain how and why to give participants feedback on the session 

• Describe the correct procedures for checking and dealing with any resources used 

• Explain why it is important to leave the environment in a condition suitable for future use 

6. Be able to bring an exercise, movement and dance session to an end 

• Allow sufficient time to end the session according to participants’ needs 

• Use cool down activities that are safe and effective for the participants and appropriate to 

the session 

• Give the participants an accurate summary of feedback on the session 

• Give the participants the opportunity to: 

• reflect on the session 

• ask questions 

• provide feedback 

• identify further needs 

• Follow the correct procedures for checking and dealing with any equipment used 

• Leave the environment in a condition acceptable for future use 

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7. Be able to review an exercise, movement and dance session 

• Review the outcomes of working with participants and their feedback 

• Identify: 

• how well the exercises met participants’ needs 

• how effective and motivational the relationship with the participants was 

• how well the instructing style matched the participants’ needs 

• Identify how to improve personal practice 

• Explain the value of reflective practice 

8. Be able to support clients taking part in exercise to music 

• Present a positive image of self and organisation to clients 

• Establish an effective working relationship with clients 

• Communicate with clients in a way that makes them feel valued 

• Use motivational styles appropriate to the client and the exercise format 

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Module 1: 

Material 

Contents: 

• Overview: Delivery of Zumba Fitness Class 

• Dance Elements 

• Fitness Elements 

• Combining Dance & Fitness Elements 

• Zumba Fitness Class Delivery 

• Alignment and Safe Practice 

• Exercises for Cardiovascular Fitness, Muscular fitness, Flexibility, Motor Skills 

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Module 2: 

Planning 

Contents: 

PART ONE: Preparing 

• Pre-class preparation 

Plan appropriate content for the skill and fitness level of the participants (including alternatives and 

modifications) – always consider a mixed ability group) 

• Preparing self & equipment 

Instructors should convey a professional approach to the session 

• Preparing Participants 

Confirm or revise plans if appropriate following screening and meeting participants 

• Welcome to class; what to say 

• Building Client Rapport 

This helps to make clients feel valued and encourages them to return 

• Barriers to Participation 

• How to overcome the barriers 

• Information Collection 

• Importance of Collection 

Conducting a health appraisal enables you to consider the risk that can be associated with initiating 

an exercise routine. Assists you in catering the class to the participants needs and enjoyment 

• Collection Methods 

• What is Informed Consent? 

“Identifying the associated benefits and risks of the exercise in order to help the client make an 

informed decision to participate” 

• What is Screening? 

“Establishing an individual’s suitability to participate in an exercise programme” 

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• Action required as a result of data collection and / or screening, including: 

Deferral 

Referral to specialist professional 

Provision of alternative exercises 

Positive PARQ responses 

Visual/verbal identification of contraindications 

• Recording Information 

• Confidentiality 

• When to Refer 

PART TWO: Planning 

• Planning: Goals and Objectives: 

• Session plan 

• The importance of planning 

• Risk management 

• Structure of a Lesson 

• Considerations: 

• Body Conditioning considerations / additional fitness elements / resistance 

• The 5 R’s 

• Using circuit formats 

• Changes to a planned session 

• Choreography design and planning 

• Choreography Tools 

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Session Plan 

Teacher: A. N. Other, Date: 02.01.13, No. of participants: 15, Age range: 16+, Venue (including space/size): Large sports hall 

Theme/Style: Zumba, Session Aim: Participants to take part in a Zumba Fitness class gaining an all over body workout. 

Learning Outcomes: By the end of the session the participants will be able to: 

• Follow class choreography successfully 

• Dance to at least 4, B1 rhythms – Merengue, Salsa, Cumbia and Reggaeton 

• Take part in fitness variations for upper, mid and lower body. 

Resource requirements: CD player / IPod Dock 

Special considerations / Differentiation requirements: Mixed ability. Some newcomers to Zumba. Some experienced (other classes & regular 

attendees). 

Phase/Song / 

Component 

Time/Reps 

/Music 

Exercises/Movements 

(specific details/ technical language) 

Teaching Methods/ Activities Teaching Key Points & 

Adaptations / Modifications 

Warm Up 0-15 mins Welcome the participants. Introduce Zumba format 

and the approach for today’s class. 

3 music tracks to include mobilisation and a 

gradual progressive increase in cardiovascular 

demand. Features: 

• Step touch: Basic step touch adding arm, leg, 

body variations suitable for each stage of the 

progressive warm-up. 

• Travelling movements to increase heart rate and 

body temperature. 

• Introduction of movements to be used later in 

the session to develop muscular training for 

upper, mid and lower body. 

• Steady tempo, basic movements and variations 

• Dynamic stretching of major muscle groups 

(lower and upper body) incorporated through 

progressive increase in range of movement and 

repetition of moves. 

Tutor-led demonstration. 

Facing class. 

Demonstrating correct form 

throughout. 

Repetitive, easy to follow 

cueing and teaching points 

throughout. 

Fun atmosphere 

Tutor to assess class during track one and 

offer modifications for participants during 

following tracks as required. To allow for : 

• Smaller range of movement 

• Varying complexity in choreography 

• Separate arm/leg considerations 

• Stability/ balance 

• Rhythmic variation 

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Phase/Song / 

Component 

Time/Reps 

/Music 

Main Section 15-20min 

Merengue 


Salsa 


Cumbia 

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• Choreography following Zumba Formula using 4 

Basic Merengue steps: 

• March 

• 2 Step 

• 6 Count 

• Beto Shuffle 

• Incorporating variations suitable for all 

participants. 


Basic Salsa steps: 

• Salsa Right and Left 

• Salsa Front and Back 

• 2 Step 

• Rock Back 


participants. 


Basic Cumbia steps: 

• 2 Step 

• Cumbia Front and Back 

• Sleepy Leg 

• Machete 


participants. 



Teaching of choreography to 

be done facing the class. 

Continuous delivery with use 

of advance visual cues. 

Observation of class to check 

all participants can follow 

choreography. 

Build up variations following basic steps as 

required. Features: 

• Arm variations 

• Fitness variations 

• Rhythmical variations 

• Directional variations 

Ensure good alignment. 

Verbal motivation to 

encourage the class 

participants and develop a fun 

atmosphere. 

As Above As Above 

As Above As Above


Phase/Song / 

Component 

Time/Reps 

/Music 


Reggaeton 


Merengue 


Salsa 


Cumbia 


Reggaeton 

Cool Down 47-52min 

Cool Down 

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Choreography following Zumba Formula 

using 4 Basic Reggaeton steps: 

Stomp 

Knee Lift 

Destroza 

2 Step 

Incorporating variations suitable for all 

participants. 


using 4 Basic Merengue steps 


participants. 


using 4 Basic Salsa steps 


participants. 


using 4 Basic Cumbia steps 


participants. 


using 4 Basic Reggaeton steps 


participants. 

1 track to include basic choreography for 

chosen rhythm. Following Zumba format 

and allowing for gradual decrease in range 

of movement, heart rate and intensity of 

moves. 



As above. As above. 


Remove impact for those requiring lower intensity 

movements – keep two feet on floor. 





As Above As above. 

Encourage arm and leg moves separately if 

difficulties arise. 

Teaching of choreography to 

be done facing the class. 

Observe class to check all participants can follow 

choreography. 

Encourage a gradual return to 

pre-exercise condition. 

Use of advance visual cues. 

Ensure pace can be maintained by all; offer 

remaindered relating to reducing intensity 

throughout. Remind participants to limit 

complexity (remove arm variations).


Phase/Song / 

Component 

Time/Reps 

/Music 


Reggaeton 


Merengue 


Salsa 


Cumbia 


Reggaeton 

Cool Down 47-52min 

Cool Down 

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using 4 Basic Reggaeton steps: 

Stomp 

Knee Lift 

Destroza 

2 Step 


participants. 


using 4 Basic Merengue steps 


participants. 


using 4 Basic Salsa steps 


participants. 


using 4 Basic Cumbia steps 


participants. 


using 4 Basic Reggaeton steps 


participants. 

1 track to include basic choreography for 

chosen rhythm. Following Zumba format 

and allowing for gradual decrease in 

range of movement, heart rate and 

intensity of moves. 











As Above As above. 

Encourage arm and leg moves separately if 

difficulties arise. 

Teaching of choreography to be 

done facing the class. 

Observe class to check all participants can follow 

choreography. 

Encourage a gradual return to preexercise 

condition. 

Use of advance visual cues. 

Ensure pace can be maintained by all; offer 

remaindered relating to reducing intensity 

throughout. Remind participants to limit 

complexity (remove arm variations).


Phase/Song / 

Component 

Time/Reps 

/Music 



Cool Down 52-60 mins Cool down continued with stretches (main 

muscle groups utilised within the class) 

(hamstring, calf, adductor, quad, obliques 

and core, upper body). 

Gentle rhythmic progression with relevant 

transitions between stretches. 



Conduct a cool down – tutor led and 

class participants follow. 

Observation with verbal cueing and 

correction as required. 

Feedback to participants. Ask for their 

feedback / Q&A as appropriate. 

Standing alternatives for all stretches 

need to be available to participants as 

required. Features: 

• Support for balance 

• Kneeling / seated options 

Post session: 

Additional alternatives 

required/given: 

(These notes form a record of 

alterations needed in future 

planning) 

Additional rhythm could be added for Cool Down tracks today to suggest future class music/ rhythms. 

Choreography variations for merengue could have been more complex, sooner today. Additional arm variations 

were given only; from Zumba choreography on DVD. Create my own, additional options for next class. 

Session evaluation: Fun, easy to follow class. Participants of all abilities were able to fully participate and feel successful in all routines 

and choreography. Even those who did not class themselves as dancers enjoyed all aspects of the class and felt 

successful. Those returning from previous classes felt an increased level of success and great workout. Great 

atmosphere throughout created from instructor’s energy and enthusiasm. Participants looking forward to next 

week. 1 x knee injury – leisure centre first aider called and appropriate action taken including incident log. 

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Choreography 

Travelling: 

Travelling is any movement that takes us from A to B. E.g. could be walking but there are many 

other possibilities. 

Turning: 

A turn is a rotating movement performed with the whole of the body resulting in a change of front. We 

are also able to rotate some body parts, but this action is known as twisting, as opposed to turning. 

Teaching Breakdown Skills: 

Methods used to breakdown a piece and gradually add the levels of complexity so that the 

full masterpiece can be appreciated and learned with minimal stress. Most common ways to 

achieve this: 

• add-on or linear teaching 

• Teach one move and then another without going back to the top. Could be used in a warm up 

and is great for introducing people into the street dance style or for dance drills 

• the link method 

• Here you add on separate sequences of moves 

• repetition reduction / reverse pyramid 

• Start with a high number of repetitions of a movement and then reduce them to achieve your 

final result 

• layering 

• Where you establish a base pattern, and then layer on another progression. 

• half time teaching 

• Combination/movement is performed at half tempo to allow the participants to get the move. 

Popular method when routines are learnt with music. 

• Staggered time 

• Where a movement, e.g. an arm pattern is performed at actual time but with pauses at certain 

points to allow participants to learn a bit at a time 

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Module 3: 

Music & Rhythm 

Contents: 

• The use of music 

• Music considerations 

• Musical Structure 

• Tempo and Beats per Minute 

• Music Phrases and Movement Phrases 

• Cueing – Teaching with Music 

• Music and choreography 

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• Awareness of different learning Styles 

• Teaching and learning styles 

• Teaching skills 

• Ways to Teach 

• Teaching choreography options 

• Teaching Instructions 

• Managing Disruption 

• Physical Contact 

• Correcting Technique 

• Motivation 

• Communication 

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Motivation is a very important factor in the learning process. Motivation can be considered in 

several ways: 

• Intrinsic and Extrinsic Motivation 

• Initial and Continuing Motivation 

• Demotivators 

1) Intrinsic and extrinsic motivation 

Intrinsic 

This is motivation that comes from within, from a personal desire to learn more, from love of the 

subject, curiosity etc. 

Extrinsic 

This comes from outside the learner. This includes learning for a purpose, to pass an exam, to 

get good grades etc. Extrinsic motivation involves rewards (and punishments) and is sometimes 

thought of as the ‘stick or carrot’. 

2) Initial and continuing motivation 

Initial 

This means the reasons that students have for coming to class in the first place, for example, to 

lose weight, doctor’s advice, brought by a friend etc. 

Continuing 

Initial motivation will not usually be enough to sustain commitment to regular and continuing 

attendance. Continuing motivation requires: 

• Variety of Stimulation e.g. variety in teaching methods, music, pace, class organisation 

• Setting of Goals – setting purposeful objectives, which should be achievable, challenging 

and progressive 

3) Demotivators 

There are some factors that can de-motivate students. These can be personal (anxiety), 

environmental (too hot or cold surroundings), physiological (hunger). If these factors are eliminated 

that will not be enough to motivate learner, which is why they can be considered separately. A 

teacher’s role is to minimize these factors as far as possible. 

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Non-verbal communication 

Eye contact 

An important channel of interpersonal communication which helps regulate the flow of 

communication. The visual sense is very dominant; using eye contact shows interest in others and 

can increase the teacher’s credibility. A teacher who makes and maintains eye contact establishes 

the flow of communication and exhibits interest concern, warmth and credibility. 

Facial expression 

Smiling is a powerful cue to transmit 

Happiness 

Friendliness 

Warmth 

Liking 

Affiliation 

If you smile frequently you will be seen as more likable, friendly, warm and approachable. Also 

more smiling is often contagious and class members will react favourably and learn more. 

Gestures 

Speaking without gesture may be seen as boring, still and unanimated. A lively and animated 

teaching style captures class member’s attention and makes material more interesting, facilitates 

learning and provides some entertainment. AND in the case of physical activity is a useful and quick 

way to prompt class member’s movement. 

Nodding the head, giving the thumbs up sign, giving the hold/stop palm forward etc, reinforces 

your communication and helps learning AND indicates that you want to listen or get a response. 

Posture and body orientation 

You are a role model for class members and have to demonstrate correct posture/body alignment 

at all times, however, facing the class and leaning slightly towards them will give the impression 

of friendliness, approachability and receptiveness. If you have to momentarily turn your back to 

demonstrate a movement, use of voice will maintain the rapport, which is re-established when 

facing them again. 

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Proximity 

Ensure interaction with class members can take place throughout class 

1. by moving your teaching spot, and 

2. moving through the group 

This allows you to keep eye contact and allows you to get feedback from all class members. You are 

in control of the group, the ‘front row’ is constantly changing and on-one can monopolise 

teacher’s attention. 

It’s not what you way, it’s the way that you say it! Going beyond the selected words. 

Includes vocal elements such as: Tone, Pitch, Rhythm, Timbre, Loudness, Inflection 

Using variety within these elements not only avoids class members being bored and inattentive, 

but can actively be used to focus on desired body movement and encourage accuracy in movement 

and dynamic. Does your voice convey warmth, confidence and delight? When they get it right – 

yes! Is like winning the gold medal. When speaking one-to-one or in a small group before class 

starts or when it ends, sounds like ahhh, ummm, ohhh, said with appropriate eye and facial 

gestures communication, understanding and empathy – they express interest, understanding and 

compassion and are more effective even than words. 

Humour 

Humour is often overlooked as a teaching tool. Laughter releases stress and tension for both 

teacher and class member; develop the ability to laugh at yourself and encourage class members 

to do the same – it helps to foster a friendly class environment and facilitates learning. E.g. if you go 

wrong in class, forget what movement comes next, laugh at yourself, say oops teacher error! 

Strategies for Effective Communication 

• Speak slowly and clearly 

• Vary your pace and tone 

• Check that the students have understood – use question & answer and other assessment method e.g. 

can they do a basic movement with minimal prompting from you before you add something new? 

• Be aware of your body language – try to reduce any distracting habits e.g. constantly hitching up 

trousers and watch out for verbal habits too e.g. constantly saying things like OK! 

• Be aware of class members body language – be prepared to change your approach if they looked 

bored or confused 

• Avoid jargon, abbreviations and technical terms, unless everyone knows what you mean 

• Be prepared to repeat or find another way to say something 

• Encourage students to ask if they haven’t understood something 

• Include all class members, especially quieter ones 

• Be conscious of where people stand in class. Make eye contact and use their name when 

addressing them 

• Talk to and not at the person 

• Offer additional support to people who may need it e.g. keep those with hearing impairment in 

your line of vision and then they will be able to lip read if necessary 

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Module 5: 

Alternatives 

Contents: 

• How to plan a range of moves 

• Creating alternatives 

• Why offer alternatives? 

• Practical options for adapting exercises 

• How to adapt movements 

• Alternatives & Teaching Methods 

• Reasons for Progression or Regression 

• How to Progress and Regress Activities 

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Contents: 

• Purpose of a Warm Up 

• Warm up considerations 

• Factors of a Good Warm Up 

• What to avoid during a Warm Up 

• Warm up mobility pulse raiser 

• Main workout pulse raiser 

• Purpose of a Cool down 

• Cool down considerations 

• Factors of a Cool Down 

• Main component build down 

• Flexibility 

• Types of Stretching 

• Exercise Technique – Flexibility 

• Relaxation 

• Final Mobiliser 

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• Stretching muscles after they have been working (shortening) will prevent unnecessary 

adaptive shortening. 

• Stretching also helps dissipate lactic acid that accumulates during cardiovascular exercise, 

preventing muscle soreness and aiding recovery. 

• Stretching aids relaxation, helping your class members feeling of well-being. 

1) Ballistic 

A form of passive or dynamic stretching in a bouncing motion. Ballistic stretches force the limb into 

an extended range of motion when the muscle has not relaxed enough to enter it. It involves fast 

"bouncing" movements where a double bounce is performed at the end range of movement. 

2) Dynamic 

Moving into and out of a stretch where dynamic flexibility is a pre-requisite to the activity – e.g. 

golfer preparing his swing. It prepares the body for what is about to follow. 

3) Active 

Active stretching eliminates force and its adverse effects from stretching procedures 

4) Passive 

A form of static stretching in which an external force exerts upon the limb to move it into the new 

position. In contrast to active stretching. Passive stretching resistance is normally achieved through 

the force of gravity on the limb or on the body weighing down on it. It can also be achieved with the 

help of a partner, stretch bands, or mechanical devices 

5) Static 

Used to stretch muscles while the body is at rest. It is composed of various techniques that 

gradually lengthen a muscle to an elongated position (to the point of discomfort) and hold that 

position for 30 seconds to two minutes. 30 seconds is the minimum duration to get the benefits 

of stretching, whereas two minutes is the maximum (if a position can be held for more than two 

minutes, a farther stretch should be performed). 

6) PNF – Proprio-Neuromuscular Facilitation 

After first 15 seconds the client must activate the stretched muscle by contracting against a 

resistance. The client then relaxes and moves the leg into a greater stretch. During the contraction 

the golgi tendon organs send a message to the brain that maximal force and stretch cannot be 

occurring at the same time, the brain ignores the message and the muscle spindles stop sending a 

signal that the leg is in fact stretched. This enables a greater degree of manipulation. 

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Module 7: 

Evaluation 

Contents: 

• Reflecting on the session 

• Personal practice 

• Evaluation 

• When does evaluation take place? 

• Teacher to Learner Feedback 

• Learner to Teacher Feedback 

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Giving Feedback: 

We give feedback in order to help another person gain insight about themselves, and to 

understand the impact of what they say and do on others. Effective feedback focuses on specific 

aspects of a person’s behaviour that they can do something about, if they choose to; either to keep 

on doing it because it’s having a positive effect, or to change what they are doing because it is not. 

Frustration is only increased when a person is reminded of short-comings over which they have no 

control. 

Feedback should not focus on attitudes or qualities, without specific examples that help the person 

receiving the feedback to understand it. For example, giving someone feedback that they look very 

positive, or that they look nervous, tells them very little about what they are doing, or not doing. 

So think about specific things you have noticed they do that leave you with that impression about 

them. Remember that our behaviour comprises: 

• What we say (the words we use) 

• How we say it (our tone, volume, speed etc. of voice) 

• What we do (our actions) and 

• How we do it (our body language – the eye contact, facial expression, gesture and posture and the 

distance/proximity we use) 

Give specific feedback directly to the person concerned and look at them when you speak e.g. 

“I noticed that you were not moving in time to the music.” Avoid focusing on someone else in the 

group e.g. “I noticed that s/he wasn’t moving in time to the music” 

Own you thoughts, feelings and opinions by using “I” statements e.g. “I found it difficult to follow 

your instructions when you turned your back to the group”. Statements that start with “You” often 

sound judgemental to the receiver e.g. “You were difficult to follow when you turned your back to 

the group” 

Keep the feedback open and honest, short, clear and to the point e.g. “I really liked the music you 

chose and felt it fitted the movements well”. 

Say what effect/impact their behaviour had on you “I found it distracting when you didn’t move in 

time to the music, and I started to lose time too”. 

Suggest alternatives for improvement; if appropriate e.g. “When I have difficulty with that I find it 

helpful to ...”Don’t give advice, especially, “If I were you I’d ...” 

Avoid assumptions about what you have noticed e.g. “You probably did that because ...”It’s not 

helpful, and we’ll never know why someone did what they did. 

Think about your voice and your body language. Keep your voice and your own body language 

positive, open and relaxed and your language objective. 

Keep a balance of positive points you have observed, and points from improvement 

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Check to ensure that your feedback has been communicated clearly. One way to do this is to 

have the receiver try to rephrase what s/he has heard. 

Receiving Feedback: 

Few of us welcome criticism with open arms, and many of us can feel awkward and uncomfortable 

hearing praise, particularly in front of other people. 

If caught unawares by a critical comment, many of us can feel stung. If we know it’s coming in 

advance, such as in a feedback session, we can feel anxious and defensive. Our current response to 

criticism and praise is based on our experiences in the past – maybe a week ago, a year ago or even 

30 years ago. If we are not skilled at handling praise we manage to dismiss it in a number of ways 

such as: 

• Denying it or disagreeing with it “Oh, did I? I thought it was rubbish” 

• Making a joke of it “It was a one-off. I’ll probably trip over next time” 

• Minimising it “It was nothing special. Don’t make such a fuss about it” 

Remember that feedback is a gift. If we choose to open that gift and treasure it, we can learn so 

much about ourselves. 

• Appoint a note taker. Ask someone to jot down some notes about what is being said so that you 

can give your full attention, and listen to what is being said 

• Breathe! And Listen without interruption until the other person has finished speaking 

• Assume that the feedback is well intentioned 

• Notice your feelings and listen, letting in what is being said. Let the other person see that the 

feedback is ‘going in’. It’s OK to nod your head – it signals “I understand”, not necessarily “I agree”. 

• Don’t start explaining or justifying your actions. Becoming defensive only makes it harder for 

others to continue to give their feedback. 

• Clarify if you need to. If the feedback is unclear, vague or ambiguous then ask for specific 

examples, or for information about the effects on them e.g. “Thanks for saying my music was 

good. Can you say a bit more about what you thought was good”. 

• Discuss alternatives. Encourage them to tell you about anything they would have liked done 

differently e.g. “Do you think it would have been more effective if I had ...?” or, ask if they have any 

suggestions about making changes. 

• Accept the feedback and thank the people who gave it. Remember it takes courage to give 

feedback in a group setting. Never reject if publicly. 

• Look for consistency. If three people are all saying that your style of delivery is clear and easy to 

follow (and you are surprised by this) it may be time to accept the strength that they have noticed. 

• Take responsibility for acting on feedback. Remember that you have a choice about what you 

decide to change. If you hear many things that others would like you to do differently that will 

help you, for example to teach more effectively, then prioritise a couple of things that you will 

work on first. 

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Module 8: Legalities 

Contents: 

• PPL Licence 

• Downloading & Recording 

• Data Protection & Confidentiality 

• Insurance 

• Protecting Yourself 

• Venue Risk Assessment 

• Safety Check 

• Manual Handling 

• Accident Reporting 

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PPL Licence 

Phonographic Performance Ltd, 

1 Upper James Street, 

London, 

W1F 9DE 

Email: 

info@ppluk.co.com 

Web address: www.ppluk.com 

Telephone: 020 7534 1000 

PRS Licence 

Performing Rights Society Ltd, 

29-33 Berners Street, 

London 

W1T 3AB 

Web address: www.prs.co.uk 

Telephone: 0800 068 4828 

Frequently Ask Questions 

Q. Is it the building that is covered by my PPL licence or myself? 

A. It is yourself that is covered for specified places of work. You would, therefore, have to inform 

PPL if you transfer to other premises on a permanent basis. 

Even if the owner of the hall/leisure centre holds a PPL licence you, as an individual, would need 

a licence 

Q. What is PRS? 

A. Performing Rights Society. PRS protect the interests of the composer. PPL protect the sound 

recordings. Halls/venues require a PRS licence. Individuals require a PPL licence 

Q. What about the educational content of our classes. Can we argue exemption? 

A. Under the definition of the Copyright Designs and Patents Act 1988 keep fit/exercise classes 

are not deemed educational. Exemption only applies to curriculum based education i.e. schools. 

Therefore classes are not exempt. 

Q. What if I teach special needs classes? Would the licence fee be waived? 

A. The licence fee for some special needs classes would be waived proving you are not accepting a full 

fee. Special Needs are classed as mentally/physically disabled and the frail/elderly (in residential home 

or centre). 50+ classes are NOT classed as frail/elderly. Post/Pre-Natal classes would NOT be waived. 

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Q. What is meant by ‘performance’? I am not performing I am teaching. 

A. It is not your own performance that matters. It is the fact that you are causing the performance 

of the sound recording to be heard in public. 

Q. Am I covered if I teach for someone who is ill or on holiday? 

A. If the person you are relieving is employed i.e. by a college or adult education you would be 

covered. If the class is private and the teacher has a PPL licence you would be covered under 

his/her licence unless he/she only uses ‘dubbing operator music’. This is music purchased from 

specialist suppliers e.g. Pure Energy. The music is more expensive as it includes a specially 

negotiated PPL licence fee. However, this means you would only be able to play this music. 

If the class is private and the teacher does not have a licence but you do; you would be covered 

under your licence providing you do not exceed the amount of classes stated on your licence, to a 

great extent. 

Q. What is someone asks me to take a session for a charity fundraising event? 

A. Some charity events would be waived, whether organised by EMDP, its partner organisations or 

by any other organisations. It is up to the organisers to have checked with PPL first. Speak to the 

organisers to check. They may not be aware that licences are needed! 

Q. I have been asked to take a rally/one-off session. Am I covered? 

A. It is the responsibility of the organisers to have obtained the special one-off licence from PPL. 

Check with them first. 

Q. I am planning a demonstration item. Do I need a licence for rehearsals? 

A. Normally you do. EMDP partner organisations should hold a one-off licence for the event at 

which you are demonstrating, PPL are prepared to allow this licence to cover you for the rehearsals. 

Your own PPL licence should cover for non EMDP and or Partner Organisation events providing you 

do not exceed the amount of classes stated on your licence. 

Q. I am producing a demonstration item and I want to alter the original music i.e. it is too long 

and needs shortening – I want to splice two pieces together. Am I covered? 

A. No. A PPL licence only licenses you to play ORIGINAL MUSIC. The only people who can give 

you permission to alter or copy music are the record producers/companies themselves. You 

can approach them direct. They can be very slow. Some companies are helpful while others are 

against dubbing for whatever reason. If permission is granted you would then need a licence from 

The Mechanical Copyright Protection Society. MCPS grants the licences for you to change original 

recordings, for one-off events. Their details are as follows: Elgar House, 41 Streatham High Road, 

London SW16 1ER. Tel: 0181 769 4400 

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Q. What if I have to move halls for a week because of circumstances beyond my control i.e. roof 

fell in, hall used for exams? 

A. You will still be covered on your licence as it is an emergency 

Q. What if I teach abroad? 

A. PPL only covers you for public performances in the UK. If you teach abroad you will need to find 

out whether there are any rules and licences needed in that country. 

Q. What if I teach for a business/company/private club? 

A. A licence is needed and would have to be negotiated between yourself and your employer 

Q. What if my employer refuses to get a licence? 

A. If your employer is a local authority then PPL would approach them for the fees not yourself. 

Generally PPL would approach the employer not the teacher. 

Q. What if I am employed by an agent such as Educational Lecturing Services? 

A. You are responsible for obtaining your own licence 

Q. My employer states that they have a licence yet they have never been able to show me a 

copy? Am I responsible? 

A. No. Why not check with PPL direct. PPL would hold your employer responsible. 

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FORMATIVE ASSESSMENT: Preparation for Summative Assessment 

Tutor Assessor Name: Candidate Name: Date: 

Please see comments below: 

• Planning & Preparation 

SESSION PLAN: 

RESOURCES: STUDIO/ MUSIC 

WELCOME / SCREENING: 

• Communication 

RAPPORT / ATMOSPHERE: 

MOTIVATION / USE OF VOICE / VOLUME: 

CUEING: 

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• Delivery 

WARM-UP: 

TEACHING METHODS / OBSERVATION: 

ALTERNATIVES / MODIFICATIONS: 

• Ending the session 

COOL DOWN: 

GIVING FEEDBACK: 

ASKING FOR QUESTIONS: 

Additional Comments: 

Signed: 

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IA 

Independent Assessor Documentation 

Candidate Name 

Venue 

Independent Assessor 

Internal Quality Assurer 

Date 

Student Assessment start and finish time 

Total number in the group 

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) 

Did the candidate: C Q NC Comments 

1.0 Planning 

1.1 Have a plan available for the session that is a format that will 

help to implement the session 

1.2 Plan the session as appropriate to the participants, to include 

realistic intensities, session goals, relevant choreography and the 

different components and timings 

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1.2a Identify objectives that are appropriate to the likely needs and 

potential of the participants; accepted good practice in the industry; 

own level of competence 

1.3 Identify the equipment/resources/music to be used in the session 

making best use of the facilities in which participants will exercise 

1.4 Plan a range of activities and movements appropriate to the 

session goals and the participants to develop CV fitness / muscular 

fitness/ flexibility/ motor skills 

1.4a Plan activities to develop safe and effective alignment 

throughout the session 

1.4b Select a range of exercises that are safe and appropriate for 

participants and include possible alternatives 

1.5 Indicate any modifications which may be required to the planned 

activities/movements based on the needs of the participants and any 

identified barriers to participation 

2.0 Preparation 

2.1 Arrive in time to prepare the session and to prepare personally 

2.2 Obtain and prepare the resources needed for the planned 

exercises 

2.2a Provide safe and appropriate equipment/ props sufficient for 

the participants 

2.3 Organise sufficient space for safe exercise performance and 

check the working environment is safe and appropriate for the 

activities to be taught 

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2.4 Present a positive image to participants of self (and organisation) 

2.5 Check the participants level of experience, ability and physical / 

medical condition 

2.5a Check the participants are wearing clothing and footwear 

suitable for the session 

2.5b Encourage participants to find appropriate solutions to 

identified barriers to participation 

2.6 Meet participants punctually and make them feel at ease in the 

exercise environment 

2.7 Collect and record participant information using appropriate 

methods in a way that will help to analyse it 

2.7a Analyse information about the participants using appropriate 

methods and identify any participants who need referral to another 

professional 

2.8 Outline the planned exercises and movements to the participants 

including physical and technical demands 

2.8a Explain the purpose and value of the session, including warmup 

and cool-down 

2.9 Explain the Health Safety and Emergency procedures to 

participants 

2.9a Confirm or revise plans as appropriate and record any 

necessary changes maintaining participant confidentiality in line 

with good practice procedures 

3.0 Record any necessary changes to the planned session (Following 

pre-screening of participants) 

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3.0 Communication 

3.1 Welcome the participants and establish a positive rapport and an 

effective working relationship 

3.2 Communicate with the participants in a way that makes them feel 

valued 

3.2a Use motivational styles appropriate to the participants and 

relevant to the Zumba delivery 

3.3 Use volume and pitch and projection of the voice effectively 

3.4 Use communication methods that are appropriate to participants 

and accepted good practice 

3.5 Maintain participant confidentiality in line with good practice 

procedures 

4.0 Delivery 

4.1 Deliver a safe and effective warm up that is appropriate to the 

Zumba session 

4.2 Ensure there is an effective balance of activity and discussion 

in the Zumba session 

4.3 Use teaching styles that are appropriate to participants and 

accepted good practice 

4.4 Provide instructions, explanations and demonstrations that 

are technically correct, safe and effective alignment of exercise / 

movement positions 

4.5 Ensure participants exercise safely 

4.5a Vary the pace and speed of movements to ensure safety and 

effectiveness 

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4.6 Offer alternatives to allow for different fitness levels and to 

accommodate participants with additional needs 

4.7 Progress or regress activities according to participants 

performance 

4.8 Provide appropriate praise and feedback and instructing points 

which are timely, clear and motivational to participants throughout 

the session 

4.9 Adopt appropriate positions to observe participants and respond 

to their needs/ check performance accuracy as required 

4.10 Check the participants can perform the exercises/ movements 

as instructed 

4.11 Use appropriate methods to correct and reinforce technique 

(change teaching position/ ask questions/ visual & verbal 

communication/ mirroring) 

5.0 Use of Music 

5.1 Ensure music is clear and audible and at an appropriate volume 

5.2 Use music appropriate to the style and pace/ speed of the 

session 

5.3 Work to the beat and phrase of the music 

5.4 Provided cueing to enable the participants to work to the 

structure and phrase of the music 

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6.0 Management 

6.1 Manage the time available to ensure each part of the plan is 

delivered effectively 

7.0 Ending the session 

7.1 Bring the session to an appropriate conclusion 

7.2. Deliver a safe and effective cool down that is appropriate to the 

session 

7.3 Encourage the participants to reflect on the session and ask 

questions, identify further needs and give feedback about the 

session 

7.4 Follow the correct procedure for checking any resources used 

and leave the environment in an acceptable condition 

7.4a Follow the correct procedure for dealing with any resources 

used and leave the environment in an acceptable condition 

7.5 Allow sufficient time for the closing phase of the session 

according to participants needs 

7.6 Give participants an accurate summary of feedback on the 

session 

8.0 Evaluation 

8.1 Review the outcomes of working with participants and their 

feedback 

8.2 Identify how well the exercises met the participants needs, how 

effective and motivational the relationship with the participants was, 

how well the instructing style matched the participant needs 

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8.3 Identify how to improve personal practice 

9.1 Identify the safe and effective technique for a range of Zumba 

movements to develop cardio-vascular fitness; muscular fitness/ 

motor skills 

9.2 Demonstrate the teaching of a Zumba style session 

9.3 Demonstrate the effective teaching of a pre-choreographed 

routine of at least 32 counts, in an appropriate Zumba style 

Assessor Questions Candidate Response 

General Comments 

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Action Plan 

Pass Referral 

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Worksheet – Health, safety and 

welfare in a fitness environment 

Please use the text overflow pages at the end of this document if you reach the end of the text boxes below 

Learner’s name: 

Health and safety 

1. Identify three types of emergency that may occur in a fitness environment 

1 

2 

3 

2. Describe the responsibilities of the following individuals during an emergency 

Role 

1. General manager 

Responsibility 

2. Duty first-aider 

3. Emergency services 

3. Explain the importance of following emergency procedures calmly and effectively 

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Level 2 Mandatory Units | Learner Assessment Record | Version 1.4 

© Central YMCA Qualifications 2013


4. Describe how to maintain the safety of people involved in typical emergencies, including children, 

older people and disabled people 

Children 

Older people 

Disabled people 

5. Outline why health and safety is important in a fitness environment 

6. Identify the legal and regulatory requirements for health and safety relevant to working 

in a fitness environment 

• 

• 

• 

7. Describe duty of care and professional role boundaries in relation to special population groups 

Children 

Older people 

Disabled people 

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8. Identify the typical roles of individuals responsible for health and safety in a fitness organisation 

Individual 

Health and safety role 

9. Describe three types of security procedure that you may need to follow when working 

in a fitness environment 

1 

2 

3 

10. Describe two key health and safety documents that are relevant in a fitness environment 

1 

2 

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11. Identify one possible hazard for each of the following aspects of working in a fitness environment 

Facilities 

Hazard 

Equipment 

Working practices (including 

lifting and handling of 

equipment) 

Client behaviour 

Security 

Hygiene 

12. Describe how to risk assess the types of hazard highlighted in question 11 above 

13. Describe how to control risks associated with the types of hazard highlighted in 

question 11 above 

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14. Identify the appropriate person/position to contact within the fitness organisation when hazards 

and risks cannot be controlled personally 

15. Describe what is meant by safeguarding the welfare of children and vulnerable adults 

16. Describe the responsibilities and limitations of a fitness instructor with regards to safeguarding 

children and vulnerable adults 

17. List four types of abuse and their associated signs that an instructor may encounter 

Types of abuse 

1 

Signs of abuse 

2 

3 

4 

14 

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18. Describe a fitness organisation’s policies and procedures in relation to safeguarding children 

and vulnerable adults, including typical reporting procedures 

Policies 

1 

Reporting procedures 

2 

19. Describe the procedures to follow to protect yourself from accusations of abuse 

20. Identify two statutory agencies responsible for safeguarding children and vulnerable adults 

and state when it may be necessary to contact them (contact scenario) 

Statutory agency 

Contact scenario 

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21. Describe how to maintain the confidentiality of information relating to possible abuse 

Final result: Pass Pass Refer 

I confirm that the information within this worksheet is entirely my own work. 

Learner’s signature: 

Date: 

Assessor’s signature: 

Date: 

IQA’s signature: 

Date: 

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Text Overflow (please use if your text has reached the end of the visible boundaries of any text boxes 

on the previous pages) 

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Tutor Feedback 

Tutor: 

Date: 

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Worksheet – Know how to 

support clients who take part in 

exercise and physical activity 

Please use the text overflow pages at the end of this document if you reach the end of the text boxes below 


1. Give two reasons why it is important to form effective working relationships with clients 

1 

2 

2. Give two reasons why it is important to present yourself and the organisation positively to clients 

1 

2 

3. Describe how the communication skills below can assist in client motivation 

Open questions 

Eye contact 

Active listening 

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© Central YMCA Qualifications 2013 17


4. Explain the importance of valuing equality and diversity when working with clients 

5. List three typical barriers to exercise/physical activity that clients may experience 

1 

2 

3 

6. Explain how incorporating clients’ exercise/physical activity preferences into their programme 

can strengthen motivation and adherence 

7. List two incentives and two rewards that can strengthen clients’ motivation and adherence 

Incentives 

Rewards 

18 

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8. List three strategies and describe how they can help clients overcome typical barriers to 

exercise/physical activity 

1 

Strategies 

How does the strategy help the client overcome the barrier? 

2 

3 

9. Explain why it is important for a clients to take personal responsibility for their own fitness 

and motivation 

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10. Explain how each of the following can assist clients to develop their own strategy for motivation 

and adherence 

• Information gathering 

• Goal setting 

11. Identify two behaviour change approaches/strategies to encourage adherence to 

exercise/physical activity 

1 

2 

12. What does SMART stand for? 

S 

M 

A 

R 

T 

13. Describe the process for setting short, medium and long-term goals following initial goal-setting 

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14. Describe the process for revising short, medium and long-term goals 

15. Explain the importance of client care: 

a. From the point of view of the client 

b. From the point of view of an organisation or company 

16 Explain why it is important to deal with clients’ needs to their satisfaction 

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17. List two ways to identify clients’ needs 

1 

2 

18. Give two reasons for the importance of dealing with clients’ needs timely, effectively 

and positively 

1 

2 

19. State two ways in which you could exceed clients’ expectations 

1 

2 

Final result: Pass Pass Refer 

I confirm that the information within this worksheet is entirely my own work. 


Date: 


Date: 


Date: 

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on the previous pages) 

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Tutor Feedback 

Tutor: 

Date: 

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Planning Group Exercise to Music Session (F/600/9021) 

Worksheet 


Assessor’s name: 

You are required to complete this worksheet, which is externally set by CYQ. This worksheet should 

be completed prior to planning your group exercise to music session, as the knowledge required 

here will assist you with your session planning. 

1. Explain the process of informed consent 

2. Describe the type/s of information that can be obtained from the client when using the 

following methods and explain when they are appropriate to be used 

PAR-Q 

Interview 

Observation 

3. Describe 1 factor based on client screening, that may affect safe exercise participation 

4. Give 1 example of how information obtained from a client might affect the planning of 

group exercise to music sessions 

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5. List 1 reason for temporary deferral of exercise 

6. Explain when you might refer a client to another professional 

7. Use the following table to describe how to plan group exercise to music sessions to meet 

the needs of clients with the following different objectives: 

Client objective Frequency Intensity Time Type 

Weight loss 

Increased 

cardiovascular 

fitness 

8. Describe the legal requirements covering the use of music 

9. Use the following table to describe how to select speed and type of music appropriate to the 

participant and phase of the class 

Participant skill 

level 

Beginner 

Phase of the 

class 

Aerobic curve 

Type of music/speed of music 

MSE 

Advanced 

Aerobic curve 

MSE 

10. Describe how the following methods can be used to help develop choreography in group 

exercise to music sessions 

Layering 

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Verse and chorus 

11. Describe how you would plan group exercise to music using a circuit format 

12. List 2 types of equipment and their uses in a group exercise to music class 

Equipment 

Use 

13. List 1 adaptation you would make to your plan to cater for each of the following: 

Young people aged 14-16 

Antenatal and postnatal 

women 

Older people (50+) 


Date: 


Date: 


Date: 

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Instructing Group Exercise to Music (J/600/9022) 

Worksheet 



You are required to complete the worksheet, which is externally set by CYQ. This should be 

completed prior to delivering your group exercise to music session, as the knowledge required here 

will assist you with your session delivery. 

1. Give an example of how a layering technique can be used to build participants’ coordination 

Initial group of moves 

Layers 

How do the layers improve coordination? 

2. Describe 2 methods to achieve effective movement combination 

Method: 

How it works to combine moves effectively: 

Method: 

How it works to combine moves effectively: 

3. Describe 2 ideas you can use whilst teaching your group exercise to music session that will 

help with group behaviour management 

a) 

b) 

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4. Briefly explain below how your instructing skills would be improved by self-evaluation and 

reflective practice 

Final Result: 


Date: 


Date: 


Date: 

Planning Worksheet - Assessor Feedback: 

Comments: 

Please detail any resubmission responses below: 

Instructing Worksheet - Assessor Feedback: 

Comments: 

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Signed-Candidate: 

Date: 

Signed-Trainer: 

Date: 

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Exercise, Movement and Dance (EMD) Worksheet: 

Candidate Name: 

1. Give four pieces of information that you would need to know about your participants to plan 

an effective lesson 

1. 

2. 

3. 

4. 

2. Explain how you would collect and record this information 

3. Immediately prior to a session, information about participants needs to be collected. What is 

this process called? Give two examples of questions that could to be asked at this time. 

1. 

2. 

4. Explain why it is important to try to ensure you are collecting accurate and up-to-date 

information about participants prior to starting our session 

5.Explain why there may be necessary changes to the session 

6. Explain why necessary changes need to be recorded 

7. Explain why you should always try to begin your class and meet your participants on time? 

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8. Outline how to make participants feel at ease 

9 Give 3 examples of barriers to participation in a Zumba class and identify possible solutions 

1. 

2. 

3. 

10. Outline legal and organizational requirements for data protection and confidentiality 

11. Explain the procedure that should be followed for referral of participants to another 

12. Explain how to select and prepare the resources and facilities needed for a successful class 

(consider participant needs; venue issues; lesson content and equipment). 

13. Explain the importance of careful and thorough planning and preparation before 

physical activity 

14. Explain how you would balance activity with discussion within a session 

15. Explain how and why you may adapt Zumba basic steps and variations to ensure 

appropriate progression or regression within a session 

16. Explain how to design a Zumba session according to accepted good practice 

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17. Explain how to apply the Zumba format when designing a session 

18. Explain how to decide on the order of exercises and activities in a Zumba session 

19. Explain why alternatives may be needed 

20. Describe how to provide alternatives to planned exercises/activities 

21. Describe two different approaches to correcting a participant’s technique in a group 

class environment? 

1. 

2. 

22. Describe how holding patterns can be useful when building up movements gradually to 

develop participants co-ordination 

23. Describe two different teaching styles and why they may be appropriate to different participants 

1. 

2. 

24. Explain how to warm participants up safely and effectively prior to exercise 

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25. Explain how to cool down participants safely and effectively 

26. Describe the procedure for leaving the dance studio following the end of your class. Please 

consider any equipment/ music systems/ props your class may have used. 

27. Why is it important to always leave the studio in a condition suitable for future use? 

28. Explain how and why to give feedback on a session 

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Assessor Comments 


Signed-Candidate: 

Date: 

Signed-Trainer: 

Date: 

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Instructing Group Exercise to Music (J/600/9022) 

Welcome to your class. Before you participate in any activity please complete the following 

short questionnaire: 

Details 

Has a doctor ever diagnosed you with a 

heart condition? 

Have you recently had chest pains 

during or after exercise? 

Do you ever feel faint or have spells of 

severe dizziness? 

Are you currently receiving treatment 

or medication for high blood pressure? 

Are you pregnant or have you given 

birth within the last six weeks? 

Are you currently receiving treatment 

or medication for any other condition? 

Have you broken any bones in the past 

six months? 

Do you suffer from any bone or 

joint problems which exercise may 

aggravate? 

Do you suffer from epilepsy or chronic 

asthma? 

Are you diabetic? If yes, is the diabetes 

type 1 or Type 2? 

Have you undergone any recent 

surgery? 

Is there any other reason which has not 

been mentioned that may affect you if 

you took part in physical activities? 

Yes 

Yes 

Yes 

Yes 

Yes 

Yes 

Yes 

Yes 

Yes 

Yes 

Yes 

Yes 

No 

No 

No 

No 

No 

No 

No 

No 

No 

No 

No 

No 

While it might be helpful for teachers to have this information, they are not medical 

practitioners and cannot advise whether any condition could be adversely affected by attending 

a class. The responsibility lies with each participant to decide whether they wish to join or 

continue with a class, assisted by any medical advice they may wish to obtain. 

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Please note that no liability is accepted for any loss of or damage to any articles, which you may bring 

with you to classes. Equally, liability is not accepted for loss of or damage to motor vehicles or their 

contents and these are left at the owner’s risk. 

“I confirm that where any medical condition, discomfort or injury which may be affected by 

physical activity applies or becomes applicable at any time when I am participating in a class, I am 

responsible for checking with my doctor to ensure I am able to participate in this activity.” 

Signed: 

Print Name: 

Address: 

Post Code: 

Date: 

Email: 

Phone: 

Emergency Contact Name (please print): 

Emergency Contact Telephone Number: 

EMDP – 14 Graylands Estate, Langhurstwood Road, Horsham, West Sussex, RH12 4QD 

01403 266000 

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Risk Assessment Checklist 

Premises & Activity Risk Assessment Form 1 (RA01) 

Your duty of care to those who attend your classes includes providing them with a safe and suitable 

venue and procedures. All Teachers are required to complete this form (RA01) every term and the 

Risk Assessment Checklist (RA02) every class. All forms must be kept on file by the Teacher and can 

be requested by EMDP at any time. Forms do not need to be sent to EMDP unless requested. 

Teacher’s name: 

Venue address: 

Day and time of class: 

1. Are premises in a satisfactory state of repair? YES/NO 

2. Are accesses, exits, passages and stairways, safe and unobstructed? YES/NO 

3. Are you aware of emergency exits in the event of an emergency? YES/NO 

• ensure exits are clearly marked 

YES/NO 

• that there is clear access to doors and that they are not locked 

YES/NO 

4. You should have put in place the following procedures in the event of a fire: 

• have you planned an escape route from the venue? 

YES/NO 

• have you got a meeting point organised? 

YES/NO 

• have you informed the class of any hall fire procedures including escape 

routes & meeting points? 

YES/NO 

• do you have a register or list of those attending the class? 

YES/NO 

• if you are using a public building e.g. a school, leisure centre etc., do you 

know where the nearest fire bell is sited so you can alert others? 

YES/NO 

• are fire extinguishers accessible, of the correct type & maintained and 

are you trained to use them? 

YES/NO 

• do your attendees know they must not try to extinguish a fire themselves, 

unless they are an appointed person, and that you must be informed immediately? YES/NO 

5. Are the premises accessible to the emergency services? YES/NO 

6. Do you have your own, or access to: 

• a First Aid Kit 

• Incident Report Book 

YES/NO 

YES/NO 

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7. Do you have access to a phone or mobile in case of emergencies? YES/NO 

8. Do the premises give access and facilities for disabled persons? YES/NO 

9. Do the premises have adequate toilet facilities including those for the disabled? YES/NO 

10. Are there changing facilities for both male & females attendees? YES/NO 

11. If the use of a Kitchen is required, have you agreed access? YES/NO 

• check kitchen hygiene 

YES/NO 

• check that equipment provided is satisfactory. 

YES/NO 

12. Heating 

• are the premises heated adequately? 

• are the heaters safe (caged if required)? 

• is the room well ventilated? 

YES/NO 

YES/NO 

YES/NO 

13. Is the room of a suitable size and shape? YES/NO 

• for the number of persons who attend the class 

• to carry out exercises/movements without causing bodily injury to others 

• enables you to have the ability to observe each participant, and they you 

14. Is the room clean & tidy, with no obstructions or obstacles? YES/NO 

• check all furniture and equipment is neatly stored 

• if participants assist in the stacking of chairs, brushing of floors etc, attention should be given 

to their safety and ability 

15. Is the floor safe to work on? YES/NO 

• clear of dirt, drawing pins, glass, spills, splinters, trailing cables, etc 

16. Electrical & other equipment 

• are you aware of the light switches, including emergency lights? 

• are plugs and sockets in working order? 

• is your own music equipment and extension lead in order? 

• are mats, balls, clubs, hoops etc. in good repair & stored safely when not in use? 

17. Personal belongings of participants 

• are personal belongings stored safely away from the activity area so as not 

to cause an obstruction or obstacle to the class when working? 

YES/NO 

YES/NO 

YES/NO 

YES/NO 

YES/NO 

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18. Is Equipment checked regularly if used in class work? YES/NO 

• is it in good repair 

YES/NO 

• is it suitable for its intended use? 

YES/NO 

• Are you aware of the hazards that different types of apparatus can cause, 

and able to take appropriate action 

YES/NO 

18. Suitability of attendees clothing, footwear & jewellery checked? YES/NO 

19. Attendees are aware of & adhere to relevant warm up & cool down exercises? YES/NO 

20. Do you observe parking facilities and keep class informed? YES/NO 

Signed: 

Date: 

NOTE: Displaying a sign advising you are not responsible for accidents / injuries has no legal effect 

whatsoever. 

Further information on Risk Assessment is available from www.hse.gov.uk 

To be retained in a file by the class Teacher. Please do not send to EMDP unless 

specifically requested. 

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1. Premises 

2. Exits & passageways 

3. Emergency exits 

4. Fire 

5. Emergency services 

6. First Aid 

7. Phone 

8. Disabled Access 

9. Toilets 

10. Changing Facilities 

11. Kitchen 

12. Heating 

13. Room size 

14. Cleanliness 

15. Floor 

16. Electrics 

17. Personal belongings 

18. Class equipment 

19. Attendees 

20. Warm up / cool down 

21. Parking 

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Date Date Date Date Date Date Date Date Date Date Date


Session Plan 

Teacher: Date: No. of participants: Age range: Venue (including space/size): 

Theme/Style: Session Aim: 

Learning Outcomes: By the end of the session the participants will be able to: 

* 

* 

* 

Resource requirements: 

Special considerations/ Differentiation requirements: 

Phase/Song/ 

Component 

Time/Reps 

/Music 


(specific details/technical language) 

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Teaching Methods/ 

Activities 

Teaching Key Points & 

Adaptations / Modifications


Phase/Song/ 

Component 

Time/Reps 

/Music 

POST SESSION: 

Additional alternatives required/given: (These notes 

form a record of alternations needed in future planning) 

Session evaluation: 

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(specific details/technical language) 

Teaching Methods/ 

Activities 

Teaching Key Points & 

Adaptations / Modifications


Session evaluation 

Instructing group exercise to music (J/600/9022) 



After my session, I received the following feedback from the participants: 

My session met the needs of the participants in the following ways: 

Instructing style 

Individual needs 

My relationship with the participants, including motivation, was effective in the following ways: 

I will improve my personal practice in the following ways: 

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