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Ten Steps
to Better Stepping
By Julieanne DiBene, B. A.
Step aerobics is approaching the end of its first decade
and, like other forms of aerobic exercise, has changed dramatically
since its inception. What was once considered one of the safest and
easiest forms of group exercise has evolved into a complex and potentially
high-risk form of physical activity. According to a study performed
by the Cumberland University Physiotherapy Unit in Sydney, Australia,
step is now the second highest injury-producing form of group exercise,
trailing closely behind high impact aerobics. This alarming trend can
be attributed to a number of factors including but no limited to:
· Increased complexity in both movement and overall choreography
· Increased speed in music (beats per minute or BPMs)
· Greater knowledge/sophistication of target audience
· Increased/perceived industry pressure to provide competitive 'entertainment'
value to classes and clientele
· Overall decrease in instructor focus on education and safety
In addition, there are a number of industry-wide factors including lack
of standardization and an overall industry focus on choreography versus
teaching skills. This article focuses on the steps that you, the professional
aerobics instructor, can take to improve the quality, safety and effectiveness
of your step aerobics classes.
1. Teach the Intended Audience.
As most professional group exercise instructors will tell you, it's
very difficult to ignore the cardio divas who routinely take up residence
in the front row of your classes. Unlike your intermediate steppers,
cardio divas have no issue with loudly complaining that, "This isn't
hard enough!" or, "This is boring! Do something else!" Stand your ground.
Unless the class is meant for advanced students, teach the intended
audience. The same goes for first time-steppers who may crash your class
twenty minutes late and get upset if they can't repeat movements without
first receiving basic instruction.
"I'm sorry this class is intended for intermediate steppers and you
are clearly very advanced," is a good way to begin with divas. If you
have developed a following and your divas are reluctant to give up your
class, appeal to their advanced knowledge of exercise by explaining
the higher risk associated with complex moves or faster music. Reassure
them that you want them in your class, but you will be making some changes
that initially might seem to make the class 'easier'. However, the result
will actually be a more challenging yet safer class. Tell beginners
that you want them to be able to participate in a step program injury-free
and urge them to attend a basic class.
2. Slow Down.
The average BMP (beats per minute) of step music has gone from a safe
120 to 130, to 145 and up. The latter is clearly high/low impact speed
and must be avoided. Faster doesn't necessarily mean better, but it
does increased risk potential as students fumble and cut corners on
foot placement and body alignment to keep up with the music. Ironically,
I learned this lesson when teaching my first senior low impact class.
I had carefully planned movements and choreography suited to the abilities
of the class, only to be told by a very wise 86-year-old student, "It's
not a race honey. We'll get there sooner or later." I slowed down the
music and their enjoyment increased dramatically.
3. Edit Step Movements.
When designing choreography, make a list of all the movements, you are
no longer going to use. Too many pop turns, rotations and high impact
jumps on to or off the step are not necessary. Also, cut out any chain
of movements too "dancy" or complex. Do you really need three mambo
pivots followed by two pop turns and a jump to jack on the step, all
done in rapid, breathless succession? Wouldn't the class get just as
much out of that section of the program if you broke the movements down,
added reps, or used a simple over-the-top with propulsion instead of
torquing knees and stressing joints with pop turns?
4. Simplify.
Simple really is better. When creating new choreography, try this easy
formula: Choose five to 10 basic movements, ones that you know to be
safe such as a knee up, alternating kick, over-the-top, , etc., and
go from there. Build an interchange using this raw materials, limiting
yourself to only those five to 10 movements. By simplifying the choreography,
you will be surprised at how much more creative you can be without relying
on complex transitions or unsafe movements.
5. More is Less and Less is More.
Add reps, not movements to your routine. There was a time that I would
not consider doing more than four of any movement out of fear that my
class would be bored. Now, I refuse to do less than eight of any movement.
Sixteen is even better, especially for beginners. The result of this
switch is that newcomers "catch on" more effectively. This also gives
regular and advanced students time to modify the movement for increased
intensity.
6. Step Back to Basics.
No matter what your class divas might think, 16 alternating knees don't
have to be boring. Add arms after eight counts. Give a propulsion modification
after 16 and it becomes an entirely new movement. I have developed a
phase in each of my step routines where I call out, "Let's make it harder!"
All my regular students know what that means. We take basics like alternating
knees and add arm punches, or take an L movement and modify the legs
from a knee up to a side leg kick and directional arm punch. I also
spend time reminding students about foot placement and body alignment
even when I teach advanced classes. It can be as simple as yelling out
the verbal cue, "Foot check!" or "Mirror check! Stand tall!" as a reminder.
7. Change is Good.
Alternate your music and routines often so students remain challenged.
Your routines do not have to be complex, just different. And don't be
afraid to try swing, salsa or Euro club aerobic music. I'll never forget
accidentally playing a 50's step tape for a very young and hip step
class of advanced, demanding students. They ended up loving the tunes
and, since then, often ask me to play the tape. This works well with
all kinds of group exercise classes, not just step. My senior low impact
class fell in love with a salsa tape I played on a whim one day. Who
would have known so many of them were actually trained in classical
dance steps and could out-mambo me? One gentleman even stayed after
class to show me the classical version of a cha-cha-cha because, never
having taken traditional ballroom dancing, I didn't know.
8. "Rise" to the Occasion.
Adding an additional riser increases intensity 12 to 15 percent. As
long as your students do not exceed the ninety degree flexion rule by
flexing their knees beyond ninety degrees, then adding an additional
riser is a safe and effective method for increasing intensity. However,
keep in mind the hip-to-foot ratio. A willowy 6-foot student with long
legs is probably going to be able to safely add up to three risers whereas
a more diminutive student of 5'4" probably will not. However, there
are exceptions. I have a former professional ice skater in one of my
classes who tops out at maybe 5'3" yet she uses two risers with ease
because she has great power in her legs, terrific jumping ability and
textbook perfect knee and foot placement.
9. Arm Movements.
Adding arm movements increases intensity by up to 12 percent. Arms provide
instructors with one of the easier, most effective methods of increasing
heart rate. Just modifying arms from a simple over-the-head reach for
eight counts to a single, alternating arm jab and punch, can change
the entire look and feel of your routine. Make it a habit, as I do,
to change all the arm movements of a routine before creating an entirely
new one. When I do this, I'm still surprised at how many of my students
have no idea they are still doing the exact same leg and floor movements
- only the arms have been changed to freshen the set.
10. Propulsion=Increased Intensity.
Adding propulsion movements to your routine can increase intensity by
as much as 35 percent. This is where you can really make them sweat
- but sweat safely. Jumps, jumping jacks, jumping to a high-knee or
kick are all excellent propulsion, higher impact moves. However, do
them on the floor to add dimension to your choreography and decrease
the chance of injury. Over-the-top and across-the-top movements can
be made more ballistic yet safe with the addition of over head arms
and careful foot placement.
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Julieanne DiBene, B.A., has authored numerous articles on fitness and
currently teaches step, aqua, high-low impact and kickboxing in the
Bay area for Bay Sport and the City of Milpitas Leisure Services. She
is also a communications and public relations executive for Winbond
Electronics Corporation, a global semiconductor company.
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